Artistic mentoring as a decolonizing methodology : an evolving collaborative painting ethnography with Maya artists Pedro Rafael González Chavajay and Paula Nicho Cúmez / by Kryssi Staikidis.

Artistic mentoring as a decolonizing methodology : an evolving collaborative painting ethnography with Maya artists Pedro Rafael González Chavajay and Paula Nicho Cúmez /

To expand the possibilities of "doing arts thinking" from a non-Eurocentric view, Artistic Mentoring as a Decolonizing Methodology: A Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez is grounded in Indigenous perspectives on arts pra...

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Bibliographic Details
Main Author: Staikidis, Kryssi (Author)
Corporate Author: E.J. Brill (Firm)
Format: Electronic eBook
Language:English
Published: Leiden ; Boston : Brill Sense, [2020]
Series:Doing arts thinking ; v. 5.
Subjects:
González Chavajay, Pedro Rafael.
Cúmez, Paula Nicho, > 1955-
Painting > Study and teaching > Social aspects.
Decolonization.
Artists as teachers.
Online Access: Full text (Wentworth users only)
Local Note:ProQuest Ebook Central
Table of Contents:
  • PART 1: The Artist as Mentor: The Mentoring Relationship as a Teaching Method and Paintings as Didactic Tools
  • Introduction to Part 1: Painting as a Didactic Tool and Site for Teaching
  • 1 Personal and Cultural Narrative as Inspiration: A Painting and Pedagogical Collaboration with Two Maya Artists
  • A Problem of Perspective
  • A Problem of Practice
  • Perspective and Practice in Context
  • Decolonizing Methodologies
  • Results
  • Life as Text
  • Discussion
  • Applications
  • Conclusion
  • 2 Where Lived Experience Resides in Art Education: A Painting and Pedagogical Collaboration with Paula Nicho Cúmez
  • Introduction
  • Reflections on Feminist Pedagogy
  • Female Kaqchikel Maya Painting and Teaching Processes
  • Owning One's Narrative in Collaboratively Produced Paintings
  • Weaving Women's Iconography in Paintings
  • Fusion: One Imagines the Painting into Being
  • Kaqchikel Women Painters' Iconography: Personal in Cultural
  • Maya Women Painters as Role Models
  • Asserting Female Ways of Connected Knowing and Teacher/Student Role Reversals
  • A Feminist Teacher's Strategy: To Elicit
  • Conclusion
  • PART 2: The Artist as Historian: Paintings as Historical Documents, Sites for Cultural Transmission, and Platforms of Protest and Resistance
  • Introduction to Part 2: The Artist as Historian, Massacre en Atitlan (Massacre in Atitlan)
  • Painting as a Site for Claiming Maya History
  • 3 Maya Paintings as Teachers of Justice: Art Making the Impossible Possible
  • The Maya Painting Movement in Context
  • Our Values Must Be Salvaged and Presented to Our Children
  • 4 Crossing Borders
  • 5 Advocating for Justice: A Maya Painter's Journey
  • A Story of Courage
  • The Anthropology of Genocide: Annihilating Difference (Hinton, 2002)
  • A Brief Overview of Guatemalan History
  • A Tragic Moment in History: Massacre in Santiago Atitlán December 3, 1990
  • Pedro Rafael González Chavajay's Story
  • PART 3: The Artist as Ethnographer: Collaborative Ethnography, Decolonizing Research Practice, and the Ethics of Representation
  • Introduction to Part 3
  • 6 "Coming of Age in Methodology": Two Collaborative Inquiries with Shinnecock and Maya Peoples
  • Diane's Research Story
  • Shinnecock Museum
  • Kryssi's Research Story
  • Conclusion: Closing the Distance
  • section 1: Ethical Changes in Representation
  • Phase One
  • Participants and Research Process
  • 7 Visual Privileging: Subjectivity in Collaborative Ethnography
  • 8 Decolonizing Development through Indigenous Artist-Led Inquiry
  • Speaking with, Not for or about Others
  • The Recounting of Tales, Myths and Readings
  • Approaching Arts-Based Inquiry with Eyes Wide-Open.

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